Gene Hedge @ Lincoln Glenn Gallery, New York - 'Pieces Of The City' Exhibition

Gene Hedge: Pieces Of The City

Lincoln Glenn Gallery, New York

November 13 – December 20, 2025

Lincoln Glenn Gallery presents Gene Hedge: Pieces of The City, a solo exhibition of the artist’s collages, paintings, and constructions from the 1950s through the 1970s. Hedge’s alternative practices reveal a singular way of seeing the world—an approach that infused his work with depth, dimension, and a quiet sense of reverence for form.

This exhibition marks Lincoln Glenn Gallery’s second presentation of Hedge’s work since the artists passing in 2017. Pieces of The City bring to light a remarkable body of paintings and constructions that remained hidden for decades in his SoHo studio—works that encapsulate both the discipline and devotion of an artist who lived entirely for his craft.

Although Gene Hedge initially found success in the vibrant postwar art world, he ultimately turned away from commercial recognition. By the early 1970s, he had withdrawn from the gallery circuit entirely, devoting himself instead to teaching, travel, and the creative achievements of his peers. Living and working in his SoHo loft on Bleecker Street, Gene Hedge chose a life of solitude and pure artistic pursuit. He painted obsessively, not for sale or acclaim, but for the sake of the work itself—an act of quiet defiance in a market-driven era.

Born and raised in Indiana, Gene Hedge served in the military from 1946 to 1947 and used G.I. Bill tuition assistance to study art at Ball State University. Inspired by the writings of László Moholy-Nagy (1895–1946), he moved to Chicago in 1949 to attend the Institute of Design, founded as the New Bauhaus by Moholy-Nagy in 1937. After graduating, Gene Hedge relocated to New York in 1956, where he began working industrial paper used in highway construction—transforming the material into organic abstractions that bridge art, nature, and technology.

In 1965, Gene Hedge radically reimagined his process by experimenting with acrylic paint. He poured pigment directly onto canvas, coaxing it into biomorphic shapes with a squeegee to create rhythmic compositions that balance control and chance. These works, often produced in sets, explore infinite variations of a single visual idea—each canvas an intimate meditation on movement, repetition, and restraint.

Hedge’s works are represented in the permanent collections of the Art Institute of Chicago, the Whitney Museum of American Art, and other major institutions.

Gene Hedge: Pieces Of The City is accompanied by a fully illustrated catalogue featuring an essay by Clanci Jo Conover.

LINCOLN GLENN GALLERY

542 West 24th Street, New York, NY 10011

www.lincolnglenn.com

Friedel Dzubas @ Lincoln Glenn Gallery, NYC - 'The Slow Unfolding: Friedel Dzubas' Final Abstractions' Exhibition

The Slow Unfolding: Friedel Dzubas' Final Abstractions 

Lincoln Glenn Gallery, New York

September 11 - November 8, 2025

Lincoln Glenn Gallery presents The Slow Unfolding: Friedel Dzubas' Final Abstractions, a solo exhibition of the artist’s late-career works, created between 1980 and 1989. These vibrant canvases mark Friedel Dzubas’ return to a more instinctive, expressive approach to painting, centered on gesture, movement, and color.

During the 1980s, Friedel Dzubas moved away from his earlier reliance on preparatory sketches and maquettes. Embracing improvisation, he worked with broad, chromatically rich forms to animate the surface of his canvases. The resulting works reflect a deep commitment to spontaneity and a refined understanding of balance, rhythm, and scale.

Rather than progressing through discrete artistic phases, Firedel Dzubas’ career reveals a continual cycle of renewal. His late abstractions recall the vigor of his early work while advancing it through decades of experimentation. Stacked color bands and drifting forms create tension and motion across the picture plane. His work on large-scale monotypes in the mid-1980s further influenced this period, underscoring his openness to varied techniques and ideas.

Born in Berlin in 1915, Friedel Dzubas immigrated to the United States in 1939, escaping Nazi Germany. He soon became part of the New York art scene, connected with Clement Greenberg, Jackson Pollock, and Helen Frankenthaler, with whom he shared a studio. Friedel Dzubas exhibited at major New York galleries including André Emmerich, Tibor de Nagy, Knoedler & Co., and Leo Castelli, and was the subject of a 1983 retrospective at the Hirshhorn Museum and Sculpture Garden. His works are in the collections of the Whitney Museum, The Met, Guggenheim Museum, Smithsonian American Art Museum, MFA Boston, and others.

The Slow Unfolding is accompanied by a fully illustrated catalogue featuring an essay by curator and critic Dan Cameron.

LINCOLN GLENN GALLERY

542 West 24th Street, New York, NY 10011

www.lincolnglenn.com

Color Field Queens: Female Artists of the 1970s @ Lincoln Glenn Gallery, New York

Color Field Queens: Female Artists of the 1970s

Lincoln Glenn Gallery, New York

August 3 – September 21, 2024

Lincoln Glenn Gallery presents Color Field Queens, an exhibition of works by Alice Baber, Beryl Barr-Sharrar, Sherron Francis, Dorothy Fratt, Sheila Isham, Emily Mason, Betty Parsons, Vivian Springford, Hilda Shapiro Thorpe, and Takako Yamaguchi. The ten artists in the presentation are united not only by gender, but also by their significant and underappreciated contributions to the Color Field movement in the 1970s.

The term Color Field Painting was coined by American critic Clement Greenberg on the occasion of a 1964 exhibition at the Los Angeles County Museum of Art. In considering the selection of works from the 1970s presented in Color Field Queens in the terms of Greenberg’s definition of Color Field painting, key techniques and attributes unify these artists under Greenberg’s movement. In many of the works, paint is thinned into delicate washes and blooming swaths of color. The resultant forms deliver sumptuous tones, uninterrupted by brush strokes that would suggest the presence of the hand behind them.

The Color Field movement had robust roots in both Washington D.C. and New York City in the decade leading up to Greenberg’s defining exhibition. In 1957, Sheila Isham (1927–2024) established a studio practice in D.C. and joined a group known as the Society of Washington Printmakers. In the same period, D.C. native Dorothy Fratt (1923–2017) began showing as a student in D.C. at the Corcoran School of Art and the Phillips Collection, ultimately joining the group that would become the Washington Color School.

Color Field painting became formally linked to Washington D.C with the 1965 exhibition Washington Color Painters at the Washington Gallery of Modern Art, featuring work by Gene Davis, Morris Louis, and Kenneth Noland, among others. The exhibition solidified the formation of the Washington Color School, uniting a “second generation” of artists in the movement who showed at the Washington Gallery as well as the Jefferson Place Gallery, co-founded by Kenneth Noland. Hilda Shapiro Thorpe (1920–2000) exhibited regularly in this cohort alongside the highest-profile woman tied to the movement, Alma Thomas. 

“A good part of the reaction against Abstract Expressionism is, as I've already suggested, a continuation of it,” wrote Clement Greenberg; as such, in addition to D.C., the Color Field movement had a robust presence in the birthplace of Abstract Expressionism, New York City. During this key period of growth for the Color Field movement, Vivian Springford (1913–2003) remained an active member of the local artist community, shifting from showing at the Great Jones Gallery, the Preston Gallery, and the Visual Arts Coalition.

Around this same time in the 1960s, Beryl Barr-Sharrar (b. 1935) was living and working in Paris, where she encountered notable American artists working in a similar visual language, including Sam Francis, Joan Mitchell, and Alice Baber (1928–1982). Alice Baber spent ample time in Paris as well as in New York, where she co-founded March Gallery, one of the select 10th Street galleries. New York-born Emily Mason (1932–2019), another member of the grouping, ran in these same circles, showing at the artist-run Area Gallery.

It is on the heels of this highly generative period of Abstraction in New York that Sherron Francis (b. 1940) moved to Soho in 1968. Joining a community of artists that included Larry Poons, Larry Zox, and Peter Bradley, Sherron Francis began showing with Andre Emmerich upon being introduced to the renowned gallerist by fellow artist Dan Christensen in 1971. In 1973, Andre Emmerich Gallery held solo shows of work by Sherron Francis, Helen Frankenthaler, Hans Hofmann, and Washington Color School painter Kenneth Noland. Legendary art dealer Betty Parsons (1900–1982), whose famed gallery was located on East 57th Street, was also producing colorful found wood assemblages during the 1970s. The youngest artist of this group show, Takako Yamaguchi (b. 1952), was strongly associated with the Pattern and Decoration Movement (P&D), which found its roots in the mid-1970s.

Color Field Queens reflects Lincoln Glenn Gallery’s core mission to showcase the wide array of American artists who made significant contributions to art history but faced institutional barriers that allowed their names to be forgotten by time.

LINCOLN GLENN GALLERY

542 West 24th Street, New York, NY

www.lincolnglenn.com